Music is not merely a series of inert notes on a page; it is a living force—capable of connecting souls and awakening dormant emotions. On 12 December 2025, at the 9th-floor auditorium (Nguyễn Văn Linh Boulevard, Nam Thành Phố Urban Area, Ho Chi Minh City), the Faculty of Arts at Van Hien University reaffirmed that philosophy through its annual arts programme, Piano in Motion (“Vũ Điệu Piano”). Far from a routine end-of-term recital, the event unfolded as a richly layered cultural journey in which the piano shed its customary stillness to move—quite literally—into vibrant, passionate “dances.”
A space of connection: where artistic minds converge
Amid the year-end rush, the auditorium was transformed into an authentic sanctuary of art. The programme was designed with a clear educational purpose: to provide students with a professional platform—not only to demonstrate technical competence, but also to become acquainted with the demands of stage lights, real-time performance pressure, and a live audience.
Master’s-level lecturer Mạch Thị Mỹ Thanh, the overall coordinator of the evening, shared with conviction: “This is a special space for students to connect and to experience a professional stage environment. We aim to offer performances rich in colour—from Waltz, Tango, and Rhumba to classical repertoire. The fusion between piano sonorities and the dance ensemble is the highlight that allows audiences to enjoy a meaningful musical feast.”
From an academic perspective, Assoc. Prof. Dr. Nguyễn Thị Thu Trang—Vice Rector in charge of research within the Faculty of Arts—emphasised that Piano in Motion represents a distinctive form of practice-based research. Here, scholarly knowledge does not remain confined to textbooks; it is translated into lived, sensory experience, enabling students to understand more deeply the nature and logic of artistic performance.
A promenade through cultural heritage
With 15 carefully curated items, the programme guided audiences through a journey across time and geography, showcasing diverse musical cultures around the world.
The itinerary opened with the exuberance of Latin America. Armando’s Rhumba, performed through Mỹ An’s piano lines and Phương Công’s incisive rhythmic accompaniment, turned the stage into a sun-drenched Havana streetscape. That fiery Latin-jazz spirit then gave way to the elegance—yet unmistakable vitality—of European folk tradition with Dvořák’s Slavonic Dance No. 8, interpreted by Bảo Minh and Bảo Khang in a four-hands piano duet.
Equally compelling was the dramatic allure of Argentine tango. Iconic works such as El Choclo and Por Una Cabeza offered striking contrasts: supple lyricism against sharply etched climaxes. As the piano resonated alongside the dance troupe under the signature red-and-gold lighting, the audience was transported into the intensity of Buenos Aires dance halls.
Technical command and breakthrough creativity
What distinguished Piano in Motion 2025 was not only performance skill, but also an intentional effort to challenge conventional perceptions. The piano is often confined to the quiet formality of chamber halls; in this production, however, it was made to “dance” in both concept and execution.
The power of synergy: Schubert’s Military March No. 1 posed a demanding challenge in a six-hands piano format. Thiên Ý, Hồng Phúc, and Lam Bửu demonstrated exceptional coordination, producing a sonority that was at once heroic and deeply expressive—evidence that a single instrument, when collaboratively mastered, can evoke the force of a compact ensemble.
A disciplined artistic rebellion: Piazzolla’s Libertango, presented in a creative adaptation by Anh Nam and Y Bum, pushed experimentation to its peak. Here the piano was not treated solely as a stringed keyboard instrument; it was also explored as a percussive body. Notably, the performers dissolved the boundary between stage and audience by inviting spectators to clap along to the bass pulse—turning the concert hall into a shared experience and making the audience an integral layer of the “rebellious tango.”
Contemporary Pop and Jazz colours: The programme also integrated modern repertoire with pedagogical finesse: the bright Pop energy of ABBA’s Mamma Mia in a 1970s disco idiom; the refined expressiveness of the jazz standard All the Things You Are; and even a distinctly “Eastern” atmosphere in In a Persian Market. Collectively, these choices created a comprehensive artistic palette—expansive rather than confined by genre boundaries.
Training philosophy and enduring impressions
The programme concluded with the sensuous charm of Sway, performed by Nguyễn Tín, followed by an energetic full-cast finale. Floral tributes and formal acknowledgements were extended to M.A. Mạch Thị Mỹ Thanh and the supporting faculty members: M.A. Thạch Thái Đỗ Quyên, M.A. Trần Mai Hồng, M.A. Trần Minh Ngọc, and M.A. Nông Xuân Hiểu. Behind the stage lights, the backstage team’s quiet dedication played a critical role in the event’s overall success.
Piano in Motion 2025 was not simply a performance programme; it served as a vivid affirmation of the Faculty of Arts’ educational philosophy at Van Hien University: “Each student who steps onto the stage is not merely learning music, but is an artist telling their own story.”
The programme’s most compelling achievement did not lie in inaccessible virtuosity for its own sake, but in its commitment to innovation. The piano conversed with driving percussion textures, flowed alongside the intensity of flamenco dance, and reached the audience with striking sincerity. Although the evening has ended, its resonances continue to linger—an emphatic testament to artistic courage and the burning passion of emerging talents. Ultimately, Piano in Motion opened new aspirations and offered a reminder that “true art is the connection of soul, intellect, and unceasing creativity.”
PROGRAM
SELECTED PHOTOS FROM THE EVENT
